EXCLUSIVE: Exile Content has teamed with Pulp Fiction producer Lawrence Bender to acquire the rights to Azam Ahmed’s New York Times article, “He Was One of Mexico’s Deadliest Assassins. Then He Turned on His Cartel”. Exile and Bender are currently developing the story into a film or series with Ahmed and Caitlin Roper as producers.
Ahmed co-wrote the article with Paulina Villegas which was published in December 2019. It tells the story of a man who became one of the deadliest assassins in Mexico who eventually taken into custody via a makeshift witness protection program. He eventually fell back into the deadly trade. “This will never end, no matter what I do,” he said in the New York Times story. “But I just won’t be a part of it anymore.”
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This is not the first story from Ahmed that has been acquired to be developed into a project. In December, Blumhouse acquired the rights to Ahmed’s New York Times article “She Stalked Her Daughter’s Killers Across Mexico, One by One” which chronicles the story of Miriam Rodríguez, a Mexican mother who tracked down the kidnappers who abducted and murdered her daughter.
Founded by Isaac Lee, Exile Content produced the Netflix series El Chapo. Most recently, Exile teamed with Roma producer Nicolas Celis and actor Diego Luna for the HBO Spain docuseries Un Sueño Real, which follows Real Madrid’s women’s team.
In addition to Pulp Fiction, Bender helped produce acclaimed fims such as Reservoir Dogs, Good Will Hunting, Inglourious Basterds, An Inconvenient Truth and Django Unchained. He has won six Oscars and has been nominated 29 times, including 3 Best Picture films.
Ahmed is the New York Times Mexico City bureau chief. His investigative story on corruption and the illegal use of spyware, Pegasus, helped launch federal investigations in México and was submitted by for a Pulitzer Prize. In 2019, he wrote a series on the homicide crisis in Latin America, the deadliest region globally, outlining the root causes of the violence. Each piece delves into a specific issue in a particular country, using intimate portraits of those living on the front lines of the crisis.
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